When the time came to record this album my first idea was to go back to 'The Nick' where Ad Maiorem was recorded but it turned out Nick Hall had moved and since I had no idea where he was now living I had to look for another studio. Hammerheart recommended 'Tercel' in Voerendaal where the second Bifrost album was recorded so I decided to give it a go. Opyros came over to witness the recordings and thanks to a larger budget we had five days this time. We went down to Voerendaal and met the engineer. He seemed like a nice guy, but though he had previous experience with somewhat similar music - he recorded the first Deinonychus album if I remember correctly - he didn't really seem to care. To make matters worse, proceedings were constantly interrupted by phone calls from the guy's kids.
We started with the drums of course, synchronizing trusty old 'Count Yamaha' to a computer where the engineer had some advanced software running so we would be able to do all the keyboards using a MIDI keyboard and thus save tracks as well as time. Because of the rhythm machine's limited memory we had to lay down a few tracks, then program 'Count Yamaha' again, then record again, etcetera. When we thought we had all the drum parts on tape it turned out the engineer hadn't thought of the fact there might be tempo changes in the songs so the computer had all the tempi wrong and we had to do it all over again. In the end all we had done in the first day were the drums and the bass on only a couple of tracks. In the end, it took two more days to do the rest of the bass parts (using my Aria Pro II, plugged straight into the mixing desk) and all the rhythm guitar parts (using my Ibanez RX350-BK, plugged straight into the mixing desk as well, through a Boss HM-3 distortion and some advanced effects processor). I did the rhythm parts three times in an attempt to get a really full sound.
The fourth day we did all the keyboards which left the fifth day for guitar leads, vocals and mix. The guitar leads were improvised as usual and the vocals went smoothly as always, but then we still had to do all the mixing which proved to be a lot of work, we are talking about some 65 minutes of music here after all! The mix went surprisingly quick and everything sounded pretty good in the studio so Opyros and I left the studio satisfied. We grabbed some Italian food somewhere in the area and then went on to see a Bifrost gig.
The iconic album cover
As good as this album had sounded in the studio over really expensive studio speakers, it sounded really bad when I played it at home on a normal stereo. So I called the studio a few weeks later to see if we could do a remix, but they had already re-used the tapes so doing a remix wasn’t possible. It’s ironic that this album is probably the worst-sounding Countess album, since it is the one that was by far the most expensive to record. I think it was almost twice as expensive as 'Ad Maiorem', an album that sounds far better. Before the release, we added 'De Gift Der Goden' as a bonus track. This song was recorded in 1995, live on four tracks and it sounds a lot better than the expensive digital 16-track recordings.
The new version of 'Chapel Of Doom' released in 2014
'The Book Of The Heretic' is still available both digitally and physically from our Bandcamp store. It's also available on all major platforms such as Apple Music and Spotify: